2020年3月25日 星期三

凡艾克：視覺革命


【國際藝壇｜凡艾克：視覺革命】
　「凡艾克：視覺革命」聚焦在凡艾克具備科學知識和高度的油畫技巧所帶來的視覺革命，展示其致力於細節描繪的功力，同時探究他身為宮廷畫家身分的同時，受該時期法蘭德斯城市根特和布魯日環境影響所發展的創作風格，進而透過並置展陳同時代的德國、法國、義大利和西班牙藝術家的作品，以及八十件於中世紀晚期帶到根特美術館的展品，揭示凡艾克於六世紀前在此地留下的生活印記。（撰文／曾筱如）（節選自《藝術家》539期，2020年4月號）
凡艾克：視覺革命
ARTIST-MAGAZINE.COM
凡艾克：視覺革命
比利時根特美術館（Museum of Fine Arts Ghent）近期推出凡艾克的大型個展，此次將一次展出超過全世界保存一半數量的十三件凡艾克作品。值得關注的是，自2012至2016年間於皇家文化遺產研究所（Royal Institute for Cultural Heritage）修復.....

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Museo Poldi Pezzoli


有意思的自畫像



Museo Poldi Pezzoli

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Museo Poldi Pezzoli
DSC02794 - Milano - Via Manzoni - Foto Giovanni Dall'Orto - 20-Jan-2007.jpg
Wikimedia | © OpenStreetMap
Established1881
LocationVia Manzoni 12, Milan, 20121 Milan – Italy
DirectorAnnalisa Zanni
Websitehttp://www.museopoldipezzoli.it
The Museo Poldi Pezzoli is an art museum in Milan, Italy. It is located near the Teatro alla Scala, on Via Manzoni 12.
The museum was originated in the 19th century as a private collection of Gian Giacomo Poldi Pezzoli (1822–1879)[1] and his mother, Rosa Trivulzio, of the family of the condottiero Gian Giacomo Trivulzio. Many of the rooms in the palace were redecorated starting in 1846, a commissions entrusted to Luigi Scrosati and Giuseppe Bertini. Individual rooms were often decorated and furnished to match the paintings hung on the walls. The architect Simone Cantoni (1736–1818) rebuilt the palace in its present Neoclassical style with an English-style interior garden. In 1850–1853, Poldi Pezzoli commissioned the architect Giuseppe Balzaretto to refurbish his apartment.[2]
Pezzoli in his testament left the house and contents to the Brera Academy. Giuseppe Bertini, director of the Academy, opened the museum on 25 April 1881. During World War II, the palace suffered grave damage, but the artworks had been placed in safe storage. The museum was reopened in 1951 after reconstruction.
The museum is notable for its broad collection of Northern Italian and Netherlandish/Flemish artists. The exhibition includes weaponry, glassworks, ceramics, jewelry, and furnishings.

Collection: Italian painters[edit]

Works on display include Italian painters such as:

Northern European Painters[edit]

Painters in the collection include: Breughel the younger; Cranach; Goltzius; James Baker Pyne; Thomas Shotter Boys; Sutterman; Teniers the younger; Jacob Toorenvliet; Pierre Tetar van Elven; Mathijs Van Hellemont; Jan Van der Meer II; Willem Van Mieris; Jacob Ferdinand Voet; Nicolaus Alexander Mair Von Landshut, (Mair Landshut); and Cornelis de Wael.

Examples of the collection[edit]

  • Ritratto di giovane dama by Antonio Pollaiolo
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  • Lamentation over the Dead Christ with Saints, by Botticelli.
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  • Hunting, Fine Persian Carpet made by Ghyath ud-Din Jami, Wool, cotton and silk

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2020年3月22日 星期日

William Morris minstrel. The Defence of Guenevere and Other Poems by William-Morris. Illustrated by Jessie M. King. 1904


'Merry, merry sparrow!
Under leaves so green
A happy blossom
Sees you, swift as arrow,
Seek your cradle narrow,
Near my bosom.
Pretty, pretty robin!
Under leaves so green
A happy blossom
Hears you sobbing, sobbing,
Pretty, pretty robin,
Near my bosom.' - William Blake
William Blake's 'The Blossom' was published in 1789 in 'Songs of Innocence', a poetry collection illustrated with artwork. The poem conjures wonderful images of nature, perfect for this time of year. https://bit.ly/2vFDJ4z
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Anne Elizabeth Amison
The William Morris Appreciation Society




At the moment it's more difficult for us to visit Morris locations in person, but this lovely book is like a virtual tour. I bought it online from the publisher, Fircone Books. It is beautifully illustrated and an absolute delight. (Just to be clear - I'm not connected to the publisher or the church!)





~• Jessie Marion King was born on March 20 in 1875. The Defence of Guenevere and Other Poems by William-Morris. Illustrated by Jessie M. King. 1904 ...



























































Minstrel with Cymbals (1880s)
William Morris (1834 - 1896)
See license information


Morris’s company decorated churches as well as houses. Religious reform and flourishing economic growth produced a great upsurge in church building which the Firm was well-placed to take advantage of. They had great success with stained-glass windows.

Morris particularly admired the techniques used to produce medieval stained glass, and wanted his company’s products to be equally impressive. The Firm’s reputation was based on artist-led design, traditional techniques and high-quality materials.

Morris supervised the painting and assembly of all their windows himself, choosing the colours and where to place the lines of lead joining the pieces of glass with particular care. Here, the red pomegranates and fabric look even richer against the green of the leaves and the minstrel’s robe, and his bright yellow hair gleams against the dark background.

See full catalogue information

There are two versions of the minstrel design. The original cartoon for the minstrel figure was drawn by William Morris in 1868 for the East window of St.John's church, Dalton, Yorks.; this version, in which the minstrel has wings, was for a series of minstrel angels subsequently re-used in many Morris & Co. windows. [e.g. Jesus College Chapel, Cambridge (south transept south window tracery, 1873), Llandaff Cathedral (nave, south aisle, tracery, 1869), Hopton-on-Sea, Norfolk (east window 1882). The winged version of the design was numbered WM 40 in the Morris & Co. Catalogue of Designs. It was also used for the painted organ screen executed by Morris & Co. for Beddington Church, Surrey in 1869. At some point this panel has been altered to fit a new window space, and in doing so, some areas of the border and background appear to have been re-shaped. The lower part of the figure, including the hem of the robe, the ankles and the feet, have been removed along with most of the green base representing grass.


William Morris minstrel
Bensham Grove, Gateshead
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